As well as co-writing the script for the company, I have taken the role as Deputy Stage Manager. I decided to work within the technical side of the show as this is where I am looking to pursue my career after finishing University. In my role as Deputy Stage Manager I will be required to help prompt the actors throughout the rehearsal process and also to cue them where to restart from during the rehearsal process within scenes if the director wants to stop at any point.
Throughout the rehearsal process it will be my job, as we do not have anyone specifically designated to the prop department, to source props and acquire them for the show. I will also look to help the Production Manager, Stage Manager and Director at any point and with anything that may be needed throughout the process.
Filter Theatre and the Lyric Hammersmith are two theatrical organisations who combine forces to produce innovative and exciting theatrical productions. A Midsummer Night’s Dream was directed by Sean Holmes and created by Filter Theatre, who are said to “create new work and interpret classic texts” ((Filter Theatre (2013) ‘A Midsummer Night’s Dream’. (Accessed 30 January 2013) Available at: http://www.filtertheatre.com/page/Coming_Soon/)), and was performed at the Lincoln Performing Arts Centre in October 2011. This production was particularly inspiring due to its unique adaptation and modernisation of the classic Shakespeare text, which they describe as ” a magical and fast-paced version of Shakespeare’s best-loved comedy” ((Filter Theatre (2013) ‘A Midsummer Night’s Dream’. (Accessed 30 January 2013) Available at: http://www.filtertheatre.com/page/Coming_Soon/)).
This production particularly stood out to us because of the innovative way in which the company produced their own sound effects. The concept of producing live music and sound effects on stage, while the action takes place is very inventive and creates a further component to the performance. As well as watching the action, the audience can experience the delights of live and ingenious music creation. This impressive form of sound production was very complimentary of Filter theatre’s modernised version of A Midsummer Night’s Dream, as it enhanced the magical element of the theatre experience.
As well as providing Progeny Theatre Company with inspiration in terms of technical production, it also grants us insight into how to adapt an original text into a unique and thought-provoking format, which both engages and ‘wows’ its audience.
“One of the pleasures of theatre is its capacity to surprise, and Filter is a company that delights in dumbfounding audiences. This condensed interpretation of A Midsummer Night’s Dream is joyously unorthodox” ((Hitchings, Henry (2012) ‘A Midsummer Night’s Dream, Lyric Hammersmith – review’. London Evening Standard. (Accessed on: 30 January 2013) Available at: http://www.standard.co.uk/arts/theatre/a-midsummer-nights-dream-lyric-hammersmith–review-7446903.html)).
In this video, the cast and creators discuss Filter’s production of A Midsummer Night’s Dream.
We are discussing the possibility of merging two stories together that have already been written as dark fairy tales to give us a platform to begin our script with. The Bloody Chamber and The Snow Child are the favourite stories within the group to use for our story. Due to the lack of characters within the two stories it would require us creating new characters that would be essential to the story and also have intended interaction with the characters already within the story.
After deliberating we came up with the idea that we would adapt The Bloody Chamber to show that there isn’t really any type of ending within reality. So there is no happy ever after and that actions will generally lead to a new story within life. We decided to use the characters; The Count, The Countess, and The Piano Tuner and in put The Snow Child into this story which will then lead on to expanding the story surrounding The Bloody Chamber.
We are intending on producing two new characters that will both be integral to the story and its content. Firstly we are toying with the idea of developing a character that is the all seeing eye within The Counts castle who witnesses all that happens there and all that is said. We are thinking this could be a Housekeeper or Maid type character that will be devoted to serving The Count.
We are also contemplating developing a character that would be an escapee from The Counts chamber who is in the story to warn The Countess of her husbands vile tendencies. This character could be an ex-wife of The Count, who has obviously been affected by what she has seen in her past. The two characters are characters that can be essential to the story but also characters that the actors can work on to make their own and over the coming months can experiment on.
Theatre Ad Infinitum are a multi-award-winning international theatre company who specialise in physicalizing performances. Their aim is to produce performances which “move, challenge and inspire” ((Theatre Ad Infinitum (2013) ‘About Us’. (Accessed 30 January 2013) Available at: http://www.theatreadinfinitum.co.uk/)) audiences of all cultures and nationalities.
“We all share a passion for innovative theatre making that speaks to a global community, and create performances that harness the universal language of the body” ((Theatre Ad Infinitum (2013) ‘About Us’. (Accessed 30 January 2013) Available at: http://www.theatreadinfinitum.co.uk)).
This theatre company interests us because of their use of physical theatre, mask work and mime, which has developed their ability to captivate an audience without speaking. They have mastered the art of story telling without using words. In order to create a spectacle worthy of a storybook, the way in which our theatre company presents our story is vital. We can take inspiration from this company because of their unique methods of captivating an audience.
‘“The Lecoq-trained mime ensemble Theatre ad Infinitum have moved to the front of the pack, their vivid mix of theatre, clowning and storytelling gaining them critical acclaim” – The Guardian’ ((Theatre Ad Infinitum (2013) ‘Awards & Reviews’. (Accessed 30 January 2013) Available at: http://www.theatreadinfinitum.co.uk)).
On Thursday 14th February 2012, Theatre Ad Infinitum performed their production of Translunar Paradise at the Lincoln Drill Hall, which was both incredibly moving and inspiring. This production used mask-work and live music to produce a sensual and emotive performance, which highlighted its themes of loneliness, grief and love. “Translunar Paradise takes you on a journey of life, death, and enduring love. After his wife passes away, William escapes to a paradise of fantasy and past memories, a place far from the reality of his grief. Returning from beyond the grave, Rose revisits her widowed companion to perform one last act of love: to help him let go. Using a live accordion accompaniment, this exquisite piece of mask and movement theatre was a critically acclaimed sellout at the Edinburgh Festival Fringe 2011” ((Lincoln Drill Hall (2012) ‘Theatre Ad Infinitum’. (Accessed on 30 January 2013) Available at: http://www.lincolndrillhall.com/events/theatre-ad-infinitum-translunar-paradise)).
The way in which this piece highlights its emotional themes through music and movement are techniques which our theatre company might hope to replicate in our own performances.
As we were wanting to devise our performance ourselves from a known fairytale, we thought it would be necessary to produce our own script so we could put across the message that we were initially intending. Having previously studied the Off the Page module, myself, Hannah Smith and Lewis Chanel decided that we would use the knowledge we had gained on the art of writing and developing a story to create our own, darker look on a children’s fairy tale.
